Cameras Quotes
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I don't get a chance to be funny on camera as often as I would like.
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I was really relieved not to have to drag something in front of the camera; I could use a pencil and paper. A regular pencil and typing paper. That appealed to me.
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All you have to do to be a camera actor is tell the truth.
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Art is a well-articulated manifestation of an aspect of life. I have been privileged to view much of life through my cameras, making the journey an enlightened experience. My emphasis has mainly been on affirmative reactions to human behavior and a strong attraction to the beauty in nature.
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The fact that I have a little ten-megapixel camera with me all the time, is way better than having the greatest camera in the world sitting at home on a desk instead of on my shoulder.
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The visual quality of the cameras now is such that you can shoot with available light, and if people are willing to mount a microphone on the camera and maybe even on the subject, then you're good to go.
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Should there be cameras everywhere in outdoor streets? My personal view is having cameras in inner cities is a very good thing. In the case of London, petty crime has gone down. They catch terrorists because of it. And if something really bad happens, most of the time you can figure out who did it.
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The camera only facilitates the taking. The photographer must do the giving in order to transform and transcend ordinary reality. The problem is to transform without deforming. He must gain intensity in form and content by bringing a subjective order into an objective chaos.
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It doesn't matter if you use a box camera or you use a Leica; the important thing is what motivates you when you are photographing.
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The whole thrust in my life right now is spinning my assignments around and making them work in a more personal way (...) I wanted to go back and do the original thing: one camera, one lens, one film. You really have to put yourself in a position of danger to be creative.
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When gifts are given to me through my camera, I accept them graciously.
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I got a massive overdose of gamma radiation from the Xerox machine and just printing call sheets, you know? By the time I stepped in front of the camera, I was very comfortable. It was great.
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My photographs are not just about the instant of movement you capture in the camera. It's much more total, about constant movement that became static.
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Reality... includes a perceiver, who has memories, thoughts, desires, emotions - which a normal camera tends to omit.
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Depending on the budget [whether to use 3D on future movies]. I think I prefer 3D to 2D now. Also, because of 3D I have to use a digital camera, which is the way it's going anyway. That still confuses me, a digital camera versus film.
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... I think it is fair to say that all war photographers hide behind their cameras. I hid behind mine for years and years and years. It was a shield... I think that the photographer in combat has a greater protection than the soldier who has a rifle in his hand. That camera has unbelievable protective power.
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Things are going to happen whether you are there or not, you still need someone to push the button on the camera and get it and know it's going to work of the story.
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(On Ingrid Bergman) "I didn't do anything I've never done before, but when the camera moves in on that Bergman face, and she's saying she loves you, it would make anybody feel romantic."
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You can't use your camera as a shield against human suffering.
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Usually you talk about directors in terms of the way they choose camera lenses or a kind of light to create a certain effect. But to me the most valuable commodity for a movie to create is a feeling of life, and that's what A Hard Day's Night has in spades.
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Being behind a camera, in front of the camera, is my own little deconstructionist niche.
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I never studied directing and I never really thought about doing it, and then I just found myself in that situation and tried it. I like to be observing everything else, and I get self-conscious in front of the camera.
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My talent lies in the fact that I cannot touch a camera without expressing myself.
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If I'm shooting actually a live-action movie and I feel like I can get the shots that I need with the existing 3D cameras, then I see there is no reason to not use those-to not shoot it in 3D. But there are limitations to the 3D cameras in terms of the amount of them, in terms of the size of them, in terms of where you can actually shoot them. There are definitely limitations so you have to weigh the costs. And you have to weigh also what ultimately what creatively you want to get.
